Demoniciduth - "Enemy of Satan" Review

 
     Out to punish the demonic forces by any means necessary, black metal band Demoniciduth returns with their second full length album Enemy of Satan.  The Swiss metallers have also released a split album and more recently, an EP.  Demoniciduth plays aggressive, raw black metal in the vein of Immortal and Horde.  There's a strong influence from Horde in the shrieking guitar attacks and the band's lyrical philosophy.  Demoniciduth has been flying under the radar for a long time, but after signing with Vision of God records and releasing Enemy of Satan, the band certainly deserves more followers.
     On the band's previous EP The Valley of Decision, death metal was in full force.  The band has returned to their roots on their newest album, and while there are a few death metal influences, it's essentially black metal at its core.  The recording quality on Enemy of Satan is superb, especially considering the subgenre.  The guitars are played by Lord Ekklektus, and it's one of the reasons that the album delivers.  The guitar riffs churn like a throbbing and rage-induced medusa, delivering a raw, sonic punch to the throat.  Vocalist Taanak continues in the tradition of Steve Rowe by also holding down the bass on the low end.  Finally, drummer Sir Krino is no slouch as he rips though the 8-track album with interesting fills.
     Enemy of Satan roars out of the gate with "March of the Dead," an instrumental track with memorable melodic guitar riffs.  Then it's on to "Christian Metal Worldwide," a song that displays churning guitar riffs and vitriolic shrieking.  The distorted backup vocals, more in the vein of death metal, provide variation.  "Christian Metal Worldwide" is the band's mission statement as much as it is a punishing black metal opus.
     "Destiny" is a shorter song with pounding drums and guitar riffs that smell distinctly of Antestor.  "Crucify" is Enemy of Satan's fourth track, and it could have been a B-side on Horde's Hellig Usvart.  Taanak screams "crucify!" with bloodcurdling emotion.  Later, thick, distorted guitar riffs accompany a time change mid-song, making the song stand out as one of the strongest on the album.  "The Holocaust of our Generation" has some intriguing harmonics that bring the song closer to A Hill to Die Upon territory.
     Enemy of Satan's title track, "Enemy of Satan," reminds the listener of the Spanish black metal band Hortor.  The passionate vocals juxtaposed against the churning guitars leave no doubt as to Demoniciuth's convictions.  "Enemy of Satan, fear not the serpent!"  I'm a sucker for memorable lines, and this song hits the nail right on the head.  "Megiddo Massacre" begins with a thumping bass guitar riff, an instrument that is often under-utilized in metal.  The song boasts innovative guitar riffs and tight drumming.
     After a furious assault of 7 black metal tracks, Demoniciduth backs off the pedal for a moment with Enemy of Satan's album closer.  "Dogs of Antichrist" is not a new track, having previously appeared on the band's album Dogs of Antichrist.  The treatment that the song receives, however, is new.  The song is lengthened by more than a minute to provide an atmospheric intro.  The ritardando in the electric guitar riff vis a vis the pounding bass guitar is a tribute to the band's excellent musicianship.
     It's difficult to levy criticism at Enemy of Satan.  There could have been more dynamic and melodic contrast, and the guitar sounds just a little thin in one or two spots.  The album could have been a bit longer, but that's about it.  Enemy of Satan is one of the best Christian black metal albums to be released in years.  If you're a fan of traditional black metal, you'll find something to enjoy on Enemy of Satan.  It seems that Jayson Sherlock, the one-man wrecking machine behind Horde, would be proud that his vision has helped to birth a band like Demoniciduth.

Rating:  9/10

 

Arvinger - "Rast" Review

     From the cold, mountainous region of Norway hails the folk metal band Arvinger.  In 2011, Arvinger released Helgards Fall, a folk metal album infused with viking elements.  While cohesive, it suffered from poor production quality and lack of distribution.  After a six year gap, Arvinger has finally released new music in the form of an EP entitled Rast.  Folk metal is a fairly niche genre, and outside the Ensiferums and Finntrolls of the metal world, it's hard to become noticed.
     Arvinger is also a folk metal band claiming Christian roots -- and the Christian folk metal bands that exist can probably be counted on two hands.  For comparison, Rast sounds like an early version of Holy Blood crossed with Evroklidon.  The folk elements, including keys, violin, and female vocals, are all standard fare for this subgenre of metal.  The vocalist, Djerv, shrieks in a similar manner to the now defunct black metal band Evroklidon's voalist Artaaroth.  Djerv sounds like he is in physical pain as he screams in a high octave, which delivers a sonic attack that will have any metal fan headbanging in no time.  This diatribe is softened by the symphonic and folk elements.  For an EP, Rast does a tremendous job of establishing atmosphere and ambiance. 
     The album begins with the title track, and fades in to mellow operatic singing.  Then, a full viking metal composition assaults the ears.  In the middle of the song, female vocals help to create an almost epic atmosphere.  The initial verdict?  "Rast" is a solid opener.  "Til Evig Tid" opens with violin dueling against the guitar, reminiscent of Eluveitie.  Throughout the song, the guitar work is solid, providing rhythmic backing to the folk aspects.
     After hitting the loud dynamics full throttle, it's time for the EP to quiet down a bit.  "Bifrost" is a short instrumental Antestor style, meaning that it's a composition that can stand alone and is downright beautiful.  Now it's time for Rast's finisher.  "Blodspakt" has a really unique intro in which the percussion and keys shine.  Once again, the Evroklidon influence is notable, as the shrieked vocals take a background to a strong rhythmic guitar line.  The song smooths out into a catchy folk metal tune with enough impetus to wrap things up. 
     Overall, Rast is a strong effort from these Norwegian metallers.  It's unwise to draw too many conclusions from an EP, but if this is the direction that the band is headed in, it's a good one.  Rast is definitely more accessible than Helgards Fall, and will hopefully get the band noticed by a record label.  If you're into folk, viking, or black metal, there are elements on the EP that you will no doubt enjoy.  Don your spangenhelm, set your face into your best Viking grimace, and get ready to bang your head!

Rating:  7.5/10

Ascendant - "Serenity" Album Review

           Denmark metal band Ascendant has released their second album, an EP entitled Serenity.  Whereas their first album The Alteration had elements of hardcore, death, and black metal, Serenity showcases Ascendant branching out into other areas, namely doom and progressive metal. 

Undoubtedly, one of the most impressive aspects of this record is the vocals.  Frontman Josua Poulsen shrieks and gurgles through the album like a rabid wolf bent on the annihilation of a legion of innocents.  He is supported in this endeavor by bassist Jens Gronhoj.  Certain moments stand out for their diversity – the shouted vocals on “The Void” that immediately bring to mind Ian Arkley from Seventh Angel to the singing and spoken lines on the closer “The Foundation.”  Guitarist Kristoffer Vammen does an adequate job of intertwining driving guitar passages with melodic leads and some memorable riffs; however, branching out more into solo territory would bring the record to a whole new level.  A simplistic, invigorating solo in the style of Iron Maiden or a solo that slowly builds up with sheer melodic intensity, like the one on Extol’s “Undeceived,” would be appropriate for their style of music. I do very much appreciate the outro on “The Void” – more moments like this would make a more memorable record.  One area that the band could improve in is in the drums and bass.  There is certainly nothing wrong with either of these on Serenity, but I find that the more I listen to metal music, that it is these two elements that separate good bands from great bands.  Utilization of the bass guitar as more than just an instrument to hold down the low end of the chord (like in “The Foundation”) and the inclusion of more drum fills and even solos would help to set this fledgling band apart from the competition. 

The band scores big with their opener and closer on the record, and I keep coming back to these songs, but somewhere in the middle Ascendant seems to have lost their creative edge.  There wasn’t enough variety.  The inclusion of more instruments for melodic passages would serve the band well in the future – keys, acoustic, strings, etc. – and keep the listener more engaged.  Some slow, doomy or even sludgy passages would be great.  I also think that the band should elaborate on the best things going for them.  This includes diversity in the vocal arrangements.  I was also impressed by the tempo changes in the music, notably on “The Foundation.”  Pulling this off can be tricky, but the band nailed it.  Jens and Levi, who wrote the lyrics, also do a phenomenal job.  In a few places they are cut and dry, portraying the band’s Christian faith.  In others, they are more philosophical and even poetic, as on “Serene:”  “Rippling water dripping from the last winter snow // between walls of steel and stone I found you flourish.”

               A newcomer to the field of metal mayhem is often cast aside, plowed under, or phases out within a release or two – but Ascendant is a band that has great potential if they continue to develop their sound and talent.  Keep an eye on these guys from Denmark – better yet, keep two eyes on them, or you might miss something wonderful.

Rating:  3.5/5.0

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